A clever cri­tique of Hol­ly­wood

Weekend Argus (Saturday Edition) - - FRONT PAGE -

on all-fe­male The­myscira isle.

Yan­kee flier Steve Trevor rapidly ac­knowl­edges Diana’s phys­i­cal su­pe­ri­or­ity – whether she briefly holds him cap­tive with her golden Lasso of Truth, or she ex­tends a bul­let­proof arm bracer to keep him from be­ing shot.

She is the bet­ter pro­tec­tor, and he piv­ots into be­ing a strong sup­port player.

“Who is the guy who is salty and jaded enough that he doesn’t have time for sex­ism?” Jenk­ins says of her ver­sion of the Steve Trevor char­ac­ter.

“If that per­son is go­ing to help win that bat­tle, he has to (re­act]) like: “We’re sep­a­rat­ing? That sounds great. You do what (you’re best at).”

The film also com­ments on Hol­ly­wood rep­re­sen­ta­tion of women and peo­ple of colour. At one point, one of the men in Diana’s band of war­riors, Sameer (Said Tagh­maoui), even tells her that he would love to be an ac­tor, but that his eth­nic­ity puts him at a cast­ing dis­ad­van­tage.

The “rag­tag team” of World War I war­riors in­cludes Sameer (Said Tagh­maoui), Steve Trevor (Chris Pine), Won­der Woman (Gal Gadot), the Chief (Eu­gene Brave Rock) and Char­lie (Ewen Brem­ner).

Won­der Woman is no screed, but the point of that mod­ern meta-con­text couldn’t be sharper.

To drama­tise the pit­falls of type­cast­ing peo­ple, the di­rec­tor says, she wanted her hero “to be paired with a seem­ingly rag­tag team of crim­i­nals: Oh, you’re a hus­tler and a liar, you’re a thief, you’re a killer? What the hell is this?”

“Yes, that is the stamp you would put on them,” Jenk­ins tells The Was­ing­ton Post.

“The ‘traitor’ is not ac­tu­ally even tak­ing money. He sim­ply can’t live any­where else. And so he’s do­ing what he can here. And the liar is re­ally just an ac­tor who is try­ing to sur­vive and not be this sol­dier. And the sol­dier is not okay with killing af­ter all.”

Ar­guably the film’s most on-thenose scene fea­tur­ing her fel­low war­riors in­cludes Sameer’s state­ment that his eth­nic­ity is an im­ped­i­ment to pur­su­ing a ca­reer in the West as an ac­tor. The other war­riors, in­clud­ing the Na­tive Amer­i­can “Chief ”, of­fer in­sights that punc­ture any stereo­typ­ing.

Won­der Woman runs a bit longer than many solo su­per­hero films, but this scene was es­pe­cially vi­tal to keep in, the di­rec­tor notes.

“I was ab­so­lutely stead­fast about that,” Jenk­ins says. “I wish the movie were five min­utes shorter, too. But if each of those char­ac­ters don’t have that mo­ment, then it be­comes a movie about a liar and a thief and a mur­derer. And I was like: ‘I can’t. That’s not okay.’”

Es­pe­cially when your pe­riod film about a cos­tumed su­per­hero is finely stitched with po­lit­i­cal com­men­tary that bears strik­ing rel­e­vance to­day. – The Wash­ing­ton Post

Gal Gadot as Won­der Woman. The film is more than just an ac­tion-packed ex­trav­a­ganza. The film has mo­ments that sub­tly en­cap­su­late the not-so-pub­lic as­pects of Hol­ly­wood – the pol­i­tics be­hind the glam­orous in­dus­try.

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